b'A flying hybrid lizard/human made from folding a piece of white paper and acenter, and another sits in the lower right, accompanied by a gun. The figure of dollar bill (fig. 35), dated 1990, bears this inscription:one of Gauguins watchers, from his Tahitian pictures, stands at the right. The sun/earth is visible in the sky beyond the window alongside swirling patterns, despite: / Inflation / deflation / depression / the psychosis ofrecalling Van Goghs painting Starry Night, and a flock of flying crows. A tag, Hellussions / Bear / Bullshit / recession / & / incestuous / dollusion / Heyreminiscent of the ID badge in Fairgrounds Called Camp Harmony (fig. 6), appears Everything is all right / Its going to be AOK!! / the moneyin the far right of the window frame. This conglomeration of motifs is anchored wars$ / (Dont) worrycuz / anything will / Rock the wall st.by one of Makuuchis grids, creating energetic connections between disparate, boat / going up shit creek w/o a paddle. but related, parts. The title refers to Gauguins painting Where Do We Come From? What Are We? Where Are We Going? (1897, Museum of Fine Arts, Boston) posing Makuuchis wide-ranging, free-wheeling approach to his work, stretchingan updated question/answer for the modern age. across these different media, obviously fueled his production. It may also have worked against recognition of his work by making it hard to categorize. Although Makuuchis mature prints are stylistically unique, and he was no ones aestheticT h e I n ca rc e rat io n inheritor, he frequently appropriated imagery in the form of direct quotationsE xpe r i e nc e R e d uxfrom works by artists such as Pablo Picasso, Edvard Munch, Vincent van Gogh,Makuuchi wrote many poems dealing with Japanese American incarceration Paul Gauguin, and Roger Brown. Makuuchi acknowledged these inspirationaland its aftermath, and the significant body of print work on this subject was artists with works from his Artists Series, which included Whither Too? (fig. 36).certainly created in tandem with these poems. The redress movement, a call for This drypoint features quotations from works by Van Gogh and Gauguin. Thethe United States government to admit to the wrongful imprisonment of resident supine figure of Van Gogh, copied from one of his self-portraits, lies at the bottomJapanese and citizens of Japanese ancestry and to provide compensation, had of the composition and covers both his ears with his hands while two sunflowersprogressed during Makuuchis time in Nigeria and began to bear fruit during bend over his head. A bird holding a paintbrush stands on a window frame at thethe 1980s. The Commission on Wartime Relocation and Internment of Civilians (CWRIC), established in July 1980, was charged with analyzing the historic claim of the military necessity of the exclusion order, removal, and detention of Japanese and Japanese Americans during the war years and to make recom-mendations. The Commission held twenty days of public hearings, including testimony from more than 750 witnesses, many of whom had been incarcerated and who had never publicly told their stories. 84 Personal Justice Denied, the CWRIC final report, was published in two volumes in 1982 and 1983. The commissions findings, based on a review of documents and interviews, concluded: The broad historical causes that shaped these decisions were race prejudice, war hysteria, and a failure of political leadership. 85Makuuchi stated that the final passage of the redress bill sparked his memories of Minidoka, resulting in a flood of prints and poems. 86As Margo Machida has pointed out, studies of Holocaust survivors have signaled that part of the process of coming to terms with past social trau-ma is the development of narratives. 87Makuuchi grappled with the trauma of his camp experience both through his poetry and as a visual artist, through the creation of his camp print series.Listening for Pillow Talk of Escape (fig. 37) depicts a small rabbit crouching below a nine-paned window on the side of a building, reminiscent of the barracks at FIGURE \x0b\x08 Whither Too? CHECKLIST #44 Minidoka. A full moon appears in the upper right corner. Makuuchi described this 60 61'